Other Women Baroque Composers

Cesarina Ricci de Tingoli, 1573-
Adriana Basile, c.1580-c.1640
Caterina Assandra, c.1590-after 1618
Lucrezia Orsina Vizzana, 1590-1662
Settimia Caccini, 1591-c.1638
Claudia Rusca, 1593-1676
Anne Bocquetearly 17th century–after 1660
Chiara Margarita Cozzolani, 1602-c.1678
Leonora Baroni, 1611-1670
Elisabeth Sophie, 1613-1676
Francesca Campana, c.1615-1665
Isabella Leonarda, 1620-1704
Mary Dering, 1629-1704
Amalia Catharina, 1640-1697
Antonia Bembo, c.1640-1720
Esther Elizabeth Velkiers, 1640-after 1685
Maria Francesca Nascinbeni, 1640-1680
Maria Cattarina Calegari, 1644-1675
Angiola Teresa Moratori Scanabecchi, 1662-1708
Élisabeth Jacquet de La Guerre, 1665-1729
Marie-Anne-Catherine Quinault, 1695-1791
Michielina della Pietà, c.1700-1744
Caterina Benedicta Grazianini, fl. early 18th century
Maria Margherita Grimani, fl. 1713-1718
‘Mrs Philarmonica,’ fl. 1715
Julie Pinel, fl. 1710-1737
Marieta Morosina Priuli, fl. 1665

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Vittoria Aleotti: Notes and Commentary

Vittoria Aleotti is believed to be the same as Raffaella Aleotti, an Italian Augustinian nun, composer, and organist. She was born in Ferrara to the prominent architect Giovanni Battista Aleotti, and was mentioned in his will, written in 1631. According to her father, Vittoria became interested in music after listening to her older sister being taught music. Within a year, Vittoria had mastered instruments, mainly the harpsichord, and voice so well that she was sent to train with Alessandro Milleville and Ercole Pasquini. At the age of 6 or 7, after working with Pasquini, it was suggested that Vittoria be sent to Ferrara’s San Vito, a convent famous for fostering musical talents. By the age of 14, Vittoria chose to enter the convent and dedicate her life to service. Raffaella was renowned for her skills at the organ and also well known in playing other instruments such as the harpsichord, the trombone, and other wind instruments. She was relentlessly praised by Ercole Bottrigari as having the talent and the skills to lead an ensemble of twenty-three nuns; she was also the Maestra at the convent until her death. Raffaella enjoyed complex music and would often use harmony and dissonance to heighten the text. However, she was at times criticized because some thought that as the music became more complex by using more voices, the holiness of the music disappeared and gave way to pleasure. She lived from c. 1575 to sometime after 1620.—Excerpted from Wikipedia
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